DOCSLIB.ORG

METAPHYSICAL MASTERPIECES STUDY DAYS Friday, April 26 & Saturday, April 27, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

METAPHYSICAL MASTERPIECES STUDY DAYS Friday, April 26 & Saturday, April 27, 2019 CIMA – Center for Italian Modern Art 421 Broome Street, 4th floor, NYC Renato Barilli • Erica Bernardi • Filippo Bosco • Caterina Caputo • Carlotta Castellani • Damian Dombrowski • Mia Fuller • Emanuele Greco • Irena Kossowska • Nicol Mocchi • Simona Storchi • Maria Elena Versari wifi network: Amplifi • password: Paolini1940 Friday, April 26 10 am – 10.30am Metaphysical Masterpieces exhibition viewing and registration Welcome by Emma Lewis, Executive Director of CIMA 10.30am – 1pm From Collecting to Exhibiting Metaphysical Paintings (Chair: Carlotta Castellani) Followed by Q&A Emanuele Greco (University of Florence, Italy) The origins of an ambiguity: considerations on the exhibition strategies of metaphysical painting in the exhibits of the group “Valori Plastici”, 1921-1922 The magazine Valori Plastici, published in Rome between 1918 and 1922 under the direction of Mario Broglio, had a decisive role in the European artistic context after WWI. It presented the works of an innovative group of Italian artists including Giorgio de Chirico, Carlo Carrà, Giorgio Morandi, Alberto Savinio, Arturo Martini and Edita Broglio, who worked to rediscover the roots of their own artistic languages in the Italian Medieval and Renaissance traditions. The magazine was a remarkable medium for the international spread of metaphysical painting, that took place when the artists more connected to this style outdistanced themselves from it in favor of a more naturalistic pictorial language. In fact, Valori Plastici presented metaphysical painting both as an innovative language of the avant-garde and as well as a language that followed the Italian artistic tradition. The proposal highlights this ambiguous interpretation of metaphysical painting given by Valori Plastici. Analyzing the exhibition activity of Valori Plastici, with an emphasis on the 1921 tour in Germany, and the participation at the Fiorentina Primaverile in Florence in 1922, it will show how Broglio intended to present metaphysical painting during the exhibits of Valori Plastici, and how it was a strategic move to describe the language of metaphysics to the public in different ways. Emanuele Greco, who received a PhD in Art History at the University of Florence (Italy), specializes in Italian art and critics of the 20th Century. His PhD thesis looked at the reconstruction of the cultural context that surrounded the Fiorentina Primaverile, an important exhibition of Italian contemporary art that took place in Florence in 1922 with a significant focus on the participation of the group “Valori Plastici.” He also studied the exhibition of African sculptures at the Venice Biennale in 1922, as well as artists like Giorgio de Chirico, Edita Broglio, Alberto Viani, Francesco Somaini. Moreover, he researched Italian art critics such as Roberto Salvini, Carlo Ludovico Ragghianti and Giorgio Castelfranco, ultimately curating the re-publishing of Castelfranco's book La pittura moderna (1934). Several of his articles have appeared in magazines like “Annali di Critica d'Arte,” “L'Uomo Nero,” “StudiOnLine” and “Artista.” Caterina Caputo (CIMA fellow) Building an Identity for Italian Contemporary Art during the Fascist Ventennio: the case of Rino Valdameri’s Collection Rino Valdameri was born in Crema in 1889. After graduating in law at the University of Genoa he became a lawyer and moved to Milan where he worked and lived during the 1920s and 1930s. In 1922, he entered the National Fascist Party, and he remained politically involved with Fascism until its fall in 1943. Valdameri was involved in the cultural environment of Milan and, from 1936 to 1940, he directed the Reale Academia of Brera and was a member of the Poldi- Pezzoli Foundation. In this paper, I will reconstruct the history of his large collection of contemporary Italian art and the collecting taste of Valdameri who, in just two decades, assembled more than 450 artworks. Among Valdameri’s favorite artists there were Giorgio Morandi, Giorgio de Chirico, and Carlo Carrà, whom he considered to be at the forefront of international modern art. Valdameri collected with a specific purpose since he aimed to contribute to shape an Italian contemporary art as well as create a national, and international, art market for it. Caterina Caputo received her PhD (Doctor Europaeus) from the University of Florence, Pisa, and Siena. Her work addresses topics at the crossway of collecting, art market, cultural dissemination, and transnational exchanges related to Surrealism, Avant-gardes, and Modernity. She worked as a tutor at the University of Florence, where she also took part in academic research groups. Caterina has been awarded the University of Florence financial grant for publishing her book Collezionismo e mercato. La London Gallery e la diffusione dell’arte surrealista, 1938-1950 (Firenze: Pontecorboli, 2018). She has presented papers in several international conferences in Europe and the U.S., and published articles on Surrealism, Giorgio de Chirico, and collecting in academic journals, including "Ricerche di storia dell'arte, "Archivio dell'arte metafisica: Studi OnLine," and “Passages” of the German Center of Art History of Paris; she is contributing to the "Art Market Dictionary" (Berlin: De Gruyter, 2020). In 2017 and 2018 she participated in the École de printemps (the International Consortium on Art History) and to the Centre Pompidou Summer School. Recently, Caterina has been awarded the Leon Levy postdoctoral fellowship at the Center for the History of Collecting at the Frick Collection, where she studied Gordon Onslow Ford’s Surrealist Collection (forthcoming publication). Nicol Mocchi (Soprintendenza, Milan) Metaphysical Art in James Thrall Soby’s travel notebooks My paper will focus on the travel notebooks of the American critic and art collector James Thrall Soby, head of the Department of Painting and Sculpture at the Museum of Modern Art in New York, written in the spring of 1948 during his trip to Italy accompanied by the director of the museum collections Alfred H. Barr, Jr. The purpose of this trip was to select Italian contemporary artworks from public and private galleries, as well as the main Italian art collectors (Frua De Angeli, Boschi, Jucker, Jesi, Rollino, Castelfranco, and Feroldi), which would be featured at the first major North-American exhibition, after the fall of fascism, entitled Twentieth-century Italian Art in 1949. The analytical study of these notebooks, enriched by a series of interesting sketches, will especially focus on the choices made and opinions expressed by Soby on the art of some of the major Italian artists variously related to the so-called “Metaphysical School,” including Giorgio de Chirico, Carlo Carrà, Giorgio Morandi, besides those of Alberto Savinio and Mario Sironi. This paper will examine the role of Italian art collecting in spreading twentieth-century Italian art, especially Metaphysical Art, and how it was perceived in the United States after World War II. Nicol Mocchi is an Italian art historian specializing in nineteenth- and twentieth-century art. She deals specifically with the connections and exchanges between different visual cultures. Since 2010, she has been collaborating with the Archivio dell’Arte Metafisica and with Milan’s Superintendence for Archeology, Fine Arts and Landscape. In 2016, she was a postdoctoral fellow at the Center for Italian Modern Art, where she researched the reception, visual success and critical fortune of Giorgio Morandi’s work in the United States, leading up to the 1950s. She has recently published a book entitled The Culture of the de Chirico Brothers at the Dawn of Metaphysical Art (Milan: Scalpendi editore, 2017). Erica Bernardi (CIMA fellow) “Intellectual lucubrations:” Lamberto Vitali, Giorgio Morandi and Metaphysical art Why didn’t Lamberto Vitali praise the artistic products of Morandi’s metaphysical phase as he did for works completed at other moments of the artist’s career? In Vitali’s writings on Morandi – in, for example, the different editions of his catalogue raisonné – the art historian doesn’t explicitly declare a preference. However, there is an evident a change in the way he discusses the works of the artist’s metaphysical years (1918–1919). For instance, when he writes about the artist’s landscapes painted in the following years, between 1921 and 1925, he claims that they have a “tender sweetness in the representation, very far from the intellectual lucubrations of the Metaphysical Still Life." This apparently banal and marginal question allows us, on the contrary, to consider Vitali’s reading of Morandi’s œuvre with a far broader perspective for which it becomes pivotal to take into consideration the collecting taste of the time. Through this reading of Vitali’s texts and of Morandi’s images, as well as an analysis of the contemporary market tendencies, it becomes possible to define the cultural reasons underlying Vitali’s taste. Erica Bernardi received her Ph.D. from the University Ca’ Foscari in Venice. Her research focuses on Franco Russoli, the art historian, museologist, and director of the Pinacoteca di Brera in Milan; most recently she published the book Senza utopia non si fa la realtà. Scritti sul museo 1952-1977, based on her PhD dissertation. She is currently the curator of the Franco Russoli archive and collection, and collaborates with the Brera on historical research projects. She is also coordinating a work team regarding contemporary
Recommended publications
  • Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura

    Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura

    Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1.
  • Futurism's Photography

    Futurism's Photography

    Futurism’s Photography: From fotodinamismo to fotomontaggio Sarah Carey University of California, Los Angeles The critical discourse on photography and Italian Futurism has proven to be very limited in its scope. Giovanni Lista, one of the few critics to adequately analyze the topic, has produced several works of note: Futurismo e fotografia (1979), I futuristi e la fotografia (1985), Cinema e foto- grafia futurista (2001), Futurism & Photography (2001), and most recently Il futurismo nella fotografia (2009).1 What is striking about these titles, however, is that only one actually refers to “Futurist photography” — or “fotografia futurista.” In fact, given the other (though few) scholarly studies of Futurism and photography, there seems to have been some hesitancy to qualify it as such (with some exceptions).2 So, why has there been this sense of distacco? And why only now might we only really be able to conceive of it as its own genre? This unusual trend in scholarly discourse, it seems, mimics closely Futurism’s own rocky relationship with photography, which ranged from an initial outright distrust to a later, rather cautious acceptance that only came about on account of one critical stipulation: that Futurist photography was neither an art nor a formal and autonomous aesthetic category — it was, instead, an ideological weapon. The Futurists were only able to utilize photography towards this end, and only with the further qualification that only certain photographic forms would be acceptable for this purpose: the portrait and photo-montage. It is, in fact, the very legacy of Futurism’s appropriation of these sub-genres that allows us to begin to think critically about Futurist photography per se.
  • Giorgio De Chirico E Venezia: 1924-1936

    Giorgio De Chirico E Venezia: 1924-1936

    255 GIORGIO DE CHIRICO E VENEZIA: 1924-1936 Giorgia Chierici SOMMARIO: Parte I Giorgio de Chirico e la Biennale di Venezia 1) 1924: XIV Esposizione Internazionale d’Arte della Città di Venezia 2) 1927-1930: da «Comœdia» alla non partecipazione alla XVI Biennale 1928 e XVII Biennale 1930 3) 1932: XVIII Esposizione Biennale Internazionale d’Arte Parte II Giorgio de Chirico e le mostre organizzate all’estero dalla Biennale 4) 1933: New York e Vienna 5) 1935: Varsavia e Parigi 6) 1936: Budapest Tavola delle abbreviazioni: APICE: Archivi della Parola, dell’Immagine e della Comunicazione Editoriale, Milano Archivio della Fondazione: Archivio Fondazione Giorgio e Isa de Chirico, Roma ASAC: Archivio Storico delle Arti Contemporanee, Venezia CRDAV: Centro Ricerca e Documentazione Arti Visive, Roma Mart: Museo d’Arte Moderna e Contemporanea Trento e Rovereto, Rovereto Nota alla lettura: In caso di errori di ortografa e battitura nei testi originali, si è preferito trascrivere fedelmente ogni documento. La maggior parte delle lettere e documenti sono trascritti solo in parte, ed è riportata la collocazione dove sono contenuti. Metafisica 2018 | n. 17/18 256 Giorgia Chierici Parte I – Giorgio de Chirico e la Biennale di Venezia 1) 1924: XIV Esposizione Internazionale d’Arte della Città di Venezia Nel 1924 Giorgio de Chirico partecipa per la prima volta alla Biennale di Venezia. In questo primo capitolo attraverso la lettura dei documenti si ricostruisce il rapporto dell’artista con la Manifesta- zione Internazionale d’Arte di Venezia: in particolare, de Chirico invia le due opere L’ottobrata e I duelli a morte, entrambe del 1924, dipinti a tempera grassa, parentesi pittorica che lascerà il posto al “ritorno all’olio” e a nuovi temi degli anni successivi.
  • Caffeina E Vodka Italia E Russia: Futurismi a Confronto Claudia Salaris

    Caffeina E Vodka Italia E Russia: Futurismi a Confronto Claudia Salaris

    Caffeina e vodka Italia e Russia: futurismi a confronto Claudia Salaris Il viaggio di Marinetti in Russia Negli anni eroici del futurismo il fondatore Filippo Tommaso Marinetti era noto con il soprannome di “Caffeina d’Europa” per l’energia con cui diffondeva la religione del futuro da un paese all’altro. Uno dei suoi viaggi memorabili è quello in Russia all’inizio del 1914 1. Invitato a tenere un ciclo di conferenze a Mosca e a Pietroburgo, Il poeta ha accettato con entusiasmo, pensando a un patto d’unità d’azione con i fratelli orientali. Infatti nella terra degli zar il futurismo è nato con caratteristiche proprie,ma è sempre un parente stretto del movimento marinettiano. Nelle realizzazioni dell’avanguardia russa non sono pochi gli echi delle teorie e invenzioni del futurismo marinettiano. Ma, al contrario degli italiani che formano una specie di partito d’artisti omogeneo, i russi sono sparsi in diversi gruppi. Nel 1910 è uscita a Pietroburgo l’antologia Il vivaio dei giudici , a cui hanno collaborato, tra gli altri, i fratelli David e Nikolaj Burljuk, Elena Guro, Vasilij Kamenskij, Viktor Chlebnikov. A costoro presto si sono uniti Vladimir Majakovskij, Benedikt Livshich, Alexandr Kruchënych e alla fine del 1912 il gruppo, che intanto ha assunto il nome di Gileja, pubblica il volume Schiaffo al gusto corrente , che nel titolo rivela la matrice marinettiana, ricalcando il “disprezzo del pubblico” promulgato dal poeta italiano. Il libro collettivo contiene un editoriale-manifesto in cui i gilejani, rifiutando il passato e le accademie, esortano i giovani a “gettare Pushkin, Dostoevskij, Tolstoj, ecc.
  • Forms of Political Representation in Late Medieval Northern Italy Merits and Shortcomings of the City-State Paradigm (Late 14Th–Early 16Th Century)

    Forms of Political Representation in Late Medieval Northern Italy Merits and Shortcomings of the City-State Paradigm (Late 14Th–Early 16Th Century)

    Chapter 3 Forms of Political Representation in Late Medieval Northern Italy Merits and Shortcomings of the City-State Paradigm (Late 14th–early 16th Century) Marco Gentile 1 Introduction The aim of this chapter is to provide a sketch of the varied patterns of political representation in the Lombard region at the end of the Middle Ages. More spe- cifically, this account will focus on the state or duchy of Milan, also known as the “Stato/ducato visconteo-sforzesco”. The interchangeability of these names is itself an indication of the fundamental ambiguity of the material constitu- tion of a political entity of this kind, which current historiography can choose to define either by focusing on the urban element (though Milan was not a capital city in the strict sense, nor a dominante like Venice or Florence) or by underscoring the role of the princely dynasty in power. In the late medieval Milanese duchy, there was no general representative in- stitution, such as a parliament, the German Landtage, the Cortes of Castile and Aragon, or the French provincial and general Estates. In their absence, at the centre we find bodies such as the ducal Privy Council, while at the peripheries we find the legal representative bodies of the subject cities and communities, the local councils, which were often hegemonized by semi-corporate factional groups. These different levels will be analysed here through the case studies of Parma, Piacenza and Alessandria. Until a few years ago, it was customary for historians to refer to the Mi- lanese duchy as a sum of city-states (or “a coordination of cities”) under a lord or a prince, who was a member of the Visconti, or from 1450 the Sforza dynasty.1 Over the last two decades, however, historians have begun to * I would like to thank Letizia Arcangeli, Giorgio Chittolini, Federico Del Tredici and Massimo Della Misericordia for their generous comments and suggestions on the first version of this paper.
  • Futurism-Anthology.Pdf

    Futurism-Anthology.Pdf

    FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F.
  • Gce History of Art Major Modern Art Movements

    Gce History of Art Major Modern Art Movements

    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
  • Carlo Carrà Metaphysical Spaces Curated by Ester Coen

    Carlo Carrà Metaphysical Spaces Curated by Ester Coen

    Carlo Carrà Metaphysical Spaces Curated by Ester Coen Blain|Southern 4 Hanover Square London W1S 1BP 8 July – 20 August 2016 Private View: 7 July, 6 – 8pm Carlo Carrà, Il Pino sul Mare, 1921 Private Collection ’Simplicity in tonal and linear relations - that is all that really concerns me now.’ Carlo Carrà in a letter to Ardengo Soffici, 1916 Blain|Southern presents an exhibition of paintings and drawings by Carlo Carrà, curated by Ester Coen. The Italian avant-garde artist is renowned for his integral role in both Futurist and Metaphysical painting. At the centre of the exhibition are Carrà’s paintings, many from public and private collections and rarely shown publicly. Shown in the UK for the first time Il Pino Sul Mare (1921) is a work that was considered so important by influential German art historian Wilhelm Worringer that he wrote to Carrà and described it as ‘my spiritual property’. A dozen other works, including Mio Figlio (1916) and Penelope (1917), comprise a group of Carrà’s key paintings that have not been presented together in over fifty years. Each is a significant work in its own right, and together they illuminate Carrà’s intellectual journey and artistic achievements. Typified by dream-like views and unexpected juxtapositions of elements, such as mannequins in eerie arcaded piazzas, the Metaphysical style of painting was led by Carrà and Giorgio de Chirico. Although their investigations initially developed independently from one another, their discourse began in 1917 when together they formally established the principles of Pittura Metafisica. The artists strived to connect with the soul by focussing on quotidian objects and the built environment.
  • Abject Art, 33 Abraham, Karl, 82, 83, 246 Adorno, Theodor W., 92, 181

    Abject Art, 33 Abraham, Karl, 82, 83, 246 Adorno, Theodor W., 92, 181

    Index Page numbers in boldface indicate illustrations. Abject art, 33 Bachelor machines, 120, 151, 163, 173, 181, Abraham, Karl, 82, 83, 246 323, 334 Adorno, Theodor W., 92, 181 Baker, Josephine, 99 African art, 29, 31, 36, 159, 346n20 Ball, Hugo, 158, 166, 174, 176, 191, 286 Allen, Woody, 41 Balla, Giacomo, 132 Anthologie Dada, 158 Baroque art, 265–269 Apotropaic transformation, 260, 262, 263, Barthes, Roland, 238 268, 271, 272 Bataille, Georges, 4, 49, 204, 205, 238, Aragon, Louis, 209 242, 338 Arp, Hans, 158, 159, 186 Baudelaire, Charles, 12, 186 Art brut, 203–204 Bauhaus, 78, 110, 113, 114, 151, 199 Art Nouveau, 59, 81, 88–95, 98–99 Beehle, Hermann, 205, 206 Arts and crafts, 57, 58, 59, 60, 63, 65 Bellmer, Hans, 114, 181, 230–239, 231, Aurier, Albert, 44–45 234, 235, 237 Austro-Hungarian Empire, 56–57 Benjamin, Walter, 92–94, 99, 114, 168, 181, Authenticity, modernist critique of, 63–64, 185–186, 199, 202, 205 65, 67 Bergson, Henri-Louis, 134, 148 Berlin, 42, 223 Baargeld. See Grünwald, Alfred Bersani, Leo, 126 Baartman, Saartjie, 12 Bertelli, R. A., 128, 130 Index Biondo, Michael, 302 Castner, Louis, 157 Bleuler, Eugen, 194 Cellini, Benvenuto, 258 Bloch, Ernst, 94 Cézanne, Paul, 279 Boiffard, Jacques-André, 224, 225 Mont Sainte-Victoire Seen from Les Bois, Yve-Alain, 33 Lauves, 280 Bonn, University of, 156, 198, 209 Chagall, Marc, 158 Bosch, Hieronymus, 330 Charcot, Jean Martin, 194 Bourgeois aesthetics, 57, 65–70, 72, 75, Chasseguet-Smirgel, Janine, 87 92–94, 104 Chicago, 59 Bourke, John G., 84, 85 Children, art of, 193, 203 Brancusi,
  • Italian Painting in Between the Wars at MAC USP

    Italian Painting in Between the Wars at MAC USP

    MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters.
  • Renaissance Quarterly Books Received: January–March 2011

    Renaissance Quarterly Books Received: January–March 2011

    Renaissance Quarterly Books Received: January–March 2011 EDITIONS AND TRANSLATIONS: Alexander, Gavin R. Writing after Sidney: The Literary Response to Sir Philip Sidney 1586– 1640. Paperback edition. Oxford: Oxford University Press, 2010. xliv + 380 pp. index. illus. bibl. $55. ISBN: 978–0–19–959112–1. Barbour, Richmond. The Third Voyage Journals: Writing and Performance in the London East India Company, 1607–10. New York: Palgrave Macmillan, 2009. 281 pp. index. append. illus. gloss. bibl. $75. ISBN: 978–0–230–61675–2. Buchanan, George. Poetic Paraphrase of The Psalms of David. Ed. Roger P. H. Green. Geneva: Librairie Droz S.A., 2011. 640 pp. index. append. bibl. $115. ISBN: 978–2–600–01445–8. Campbell, Gordon, and Thomas N. Corns, eds. John Milton: Life, Work, and Thought. Paperback edition. Oxford: Oxford University Press, 2010. xv + 488 pp. index. illus. map. bibl. $24.95. ISBN: 978–0–19–959103–9. Calderini, Domizio. Commentary on Silius Italicus. Travaux d’Humanisme et Renaissance 477. Ed. Frances Muecke and John Dunston. Geneva: Librairie Droz S.A., 2010. 958 pp. index. tbls. bibl. $150. ISBN: 978–2–600–01434–2 (cl), 978–2–600–01434–2 (pbk). Campanella, Tommaso. Selected Philosophical Poems of Tommaso Campanella: A Bilingual Edition. Ed. Sherry L. Roush. Chicago: The University of Chicago Press, 2011. xi + 248 pp. index. bibl. $45. ISBN: 978–0–226–09205–8. Castner, Catherine J., trans. Biondo Flavio’s Italia Illustrata: Text, Translation, and Commentary. Volume 2: Central and Southern Italy. Binghamton: Global Academic Publishing, 2009. xvi + 488 pp. index. illus. map. bibl. $36. ISBN: 978–1–58684–278–9.
  • From Miró to Barceló

    From Miró to Barceló

    GLOSSARY OF ARTISTIC MOVEMENTS TEAM CATALOGUE INFORMATION Synthetic Cubism Informal Art Centre Pompidou De Miró a Barceló. Un siglo de arte OPENING HOURS After Analytical Cubism (up to 1912), artists such as The expression “Informal Art” was coined by critic español / From Miró to Barceló. A 9.30 a.m. to 8.00 p.m., every day Pablo Picasso, Georges Braque or Juan Gris entered Michel Tapié in his publication Un Art Autre [Art of CURATOR Century of Spanish Art Ticket offices close at 7:30 p.m. a new phase with Synthetic Cubism (up to around Another Kind] in 1952. It designated the abstract, Brigitte Leal, Deputy Director of the Edited by Brigitte Leal The museum is closed on Tuesdays 1919): they reintroduced readable signs to the gestural and spontaneous pictorial techniques that Musée National d’Art Moderne Co-published by the Public Agency for (except holidays and days before From Miró to Barceló canvas - elements of everyday life, papers and glued dominated European art from 1945 to 1960, and the Management of the Casa Natal of holidays), 1 January and objects - thus making Cubism evolve towards an included Tachisme, Matter painting or Lyrical ASSISTED BY Pablo Ruiz Picasso and Other Museum 25 December A Century of Spanish Art aesthetic thinking based on the various levels of abstraction. Its American equivalent was known as Alice Fleury, Heritage Curator Intern and Cultural Facilities and Centre reference to reality. Abstract Expressionism. Laura Diez, Intern Pompidou 240 p., 132 ill. PRICES 12 March 2020 – 1 November 2021 COLLECTION